Search:roll

Two underground artists with many years in the scene behind them in Darwin Chamber and DJ Spun come together for the second in their Episode series on Rong Music.

Once again they dig into the sounds of their formative years while also looking to the future as they blend dub, trance and techno into lithe new forms. 'The Revolution' is a mid-tempo and atmospheric roller with hypnotic vocals, while 'The Playa' is a deft bit of electronic minimalism with a deep space feel and ticking 808 sounds. Things get more loose with the warped synths and dusty tech beats of 'Dysfunction' while 'Acid Tounge' closes with trippy designs, a skeletal rhythm and a sense of late-night melodic and afterparty mischief.

JORDY arrived as a pop disruptor with the 2018 breakout “Just Friends,” gathering tens of millions of streams in the process. He continued to progress from Mind Games 2021 to the critically acclaimed BOY 2023. Huffington Post hailed the latter as “an introspective listen that doesn’t skimp on sonic joy,” and Rolling Stone applauded its lead single “Story of a Boy” as “a welcome twist with lyrics that speak to JORDY’s all-too-relatable experience as a queer person coming of age.” Meanwhile, JORDY not only shined on stage at festivals such as Lollapalooza, Firefly, OUTLOUD at WeHo Pride, and Bottle Rock, but he also ignited television on NBC’s TODAY and The Kelly Clarkson Show. And during his ascent, his diaristic, authentic voice earned him nominations at the GLAAD Media Awards (Outstanding Breakthrough Music Artist), the iHeartRadio Music Awards (Social Star), and the Queerty Awards (Favorite Music Video i get high + Best Anthem [Story of a Boy]).

JORDY's third studio album, SEX WITH MYSELF, is a bold and uninhibited exploration of love, pleasure, and self-discovery. Packed with danceable, retro-infused tracks that delve into hookups, heartbreak, and unapologetic self-love, the LP showcases JORDY’s signature diaristic lyricism, creative evolution, and newfound artistic confidence. SEX WITH MYSELF includes the singles, “NICE THINGS,” & “SECOND MINUTE HOUR.” Pressed on Coke Bottle Clear Vinyl.

1st November saw the release of THE CURE's critically acclaimed album, 'SONGS OF A LOST WORLD,' the band’s first new studio record in 16 years and their first #1 album in the UK since 1992.

The night of the album's unveiling, The Cure performed it in full to 3000 fans at Troxy London and to more than a million on a free global stream.



The stunning live performance entitled 'SONGS OF A LIVE WORLD : TROXY LONDON MMXXlV’ will be released on the 14th Feb on vinyl on Fiction/Polydor, with all The Cure's royalties benefitting War Child and this will be opened up to Indie stores.



Initially formed in 1978, The Cure has sold over 30 million albums worldwide, headlined the Glastonbury festival four times and been inducted into the Rock And Roll Hall of Fame in 2019. They are considered to be one of the most influential bands to ever come out of the UK.



'SONGS OF A LOST WORLD' was written and arranged by Robert Smith, produced and mixed by Robert Smith & Paul Corkett and performed by The Cure - Robert Smith: Voice / guitar / 6string bass / keyboard, Simon Gallup: Bass, Jason Cooper: Drums / percussion, Roger O'Donnell: Keyboard, Reeves Gabrels: Guitar.

'SONGS OF A LIVE WORLD : TROXY LONDON MMXXlV’ includes Perry Bamonte: Guitar / 6string bass / keyboard.

Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.

Of all the nicknames given to Elvis, only one of them really seems to reflect his importance in the history of rock: they called him The King.

Together with Chuck Berry, Elvis represented the young generation that vibrated to the music with new rhythms that appeared in the Fifties: Rock’n’Roll. Presley’s personality, not to mention his voice, charm, and a whole series of chart hits, guaranteed Elvis a special place in the hearts of his fans; and not only in his own lifetime, because the same is true some fifty years later.

The thirty titles included in this album are a brilliant demonstration of Elvis’ talents, and the music alone is enough to explain the cult following of his fans, who will worship him forever.

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.

Clone Jack For Daze on a roll with Tom Carruthers up next. Tom delivering trax that will make you jack all night long! The 4 track EP reflects a keen ear for detail and a deep appreciation for retro-futuristic influences that made the genre. No nonsense classic bleepy techno with lush strings and contrasting metalic basslines fierce enough to keep the energy flowing till sunrise.

Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.

One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he cofounded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.

Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.

Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex— where space stretches in slow motion and walls reverberate with ricocheting delay.

A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.1

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Einer der ganz großen Albumklassiker des Impulse!-Labels: “Alfie” wurde 1966 als Soundtrack zum gleichnamigen britischen Film mit Michael Caine in der Hauptrolle veröffentlicht. Tenorsaxofonist Sonny Rollins
hatte die Musik, die er eigens für den Film geschrieben hatte, zuvor schon in London mit britischen Musikern für den Film eingespielt. Für das Impulse!-Album, das zum Filmstart veröffentlicht wurde und Platz 17
der Billboard Rhythm’n’Blues-Charts erreichte, nahm er die Musik mit amerikanischer Starbesetzung und
Arrangements von Oliver Nelson aber noch einmal neu auf.

The Bridge by Sonny Rollins, released 7 February 2025.

This version of The Bridge comes as a 1xLP. This release comes with (a) Liner Notes.

Young Kingz II marks Krept & Konan’s first album since top-5 charting Revenge Is Sweet, a project which cemented their place in music history as UK rap royalty and saw them become the first British rap act to headline the O2 London. It also follows the duo’s equally ground-breaking 2017 release of 7 DAYS and 7 NIGHTS, which saw them become the first act ever to have two mixtapes simultaneously enter the Top 10 of the Official UK Albums chart, and their 2015 debut album The Long Way Home which debuted at no. 2 on The Official UK Albums Chart, becoming the highest charting British Rap album in UK chart history.

With Young Kingz II, Krept & Konan are set to continue their legacy and undisputed relevance in the British music scene. Returning to their independent roots, they come full circle with the follow up to their 2013 released Young Kingz mixtape which catapulted the duo into the Top 20 of The Official UK Albums Chart, earning them a Guinness World Record for the highest charting UK album by an unsigned act.

Young Kingz was pivotal in establishing Krept & Konan as trailblazers in the UK rap scene, kickstarting their reputation for repeatedly breaking records and consistently breaking ground. With a broad-ranging rollcall of featured artists, it heralded their signature approach to collaborations of enlisting fledgling artists (such as s then little-known MC, Stormzy), alongside more established ones (George The Poet, Chip, Tine Tempah and Giggs). It also saw Krept & Konan gain traction across the Atlantic with US rappers French Montana, Chinx Drugz, Lil Durk stepping up on the remix of the mixtape’s second single release, "Don’t Waste My Time", and garnered them a BET Award (Best International Act) and MOBO Award (Best Hip-Hop Act).

‘Young Kingz II’ is poised to be yet another milestone in Krept & Konan's unstoppable career. As unapologetic pioneers in UK hip-hop, they continue to push boundaries and set new benchmarks in British music.

Ltd Edition!

Bonnie "Prince" Billy - Alias des Musikers Will Oldham - wird am 31. Januar 2025 sein neues Studioalbum mit dem Titel "The Purple Bird" veröffentlichen. "The Purple Bird" wurde in Nashville mit dem Produzenten David "Ferg" Ferguson und einem Ensemble erstklassiger Session-Musiker aufgenommen. Es könnte als "eine richtige Nashville-Platte" bezeichnet werden, die aus einer Sammlung von Songs besteht, die hauptsächlich am Küchentisch von Ferg entstanden sind.

Auf "The Purple Bird" arbeitet Bonnie "Prince" Billy erst zum zweiten Mal in seiner illustren Karriere mit einem Produzenten zusammen. Seine Beziehung zu Ferg reicht mehr als zwei Jahrzehnte zurück bis zu den Sessions für das Johnny Cash-Album American III mit Rick Rubin, bei denen Ferg als Tontechniker fungierte und bei denen Cash eine Coverversion des BPB-Tracks "I See A Darkness" aufnahm. Die beiden haben im Laufe der Jahre an zahlreichen Projekten zusammengearbeitet, aber an keinem so intensiv wie an "The Purple Bird". Was bedeutet "eine richtige Nashville"-Platte für den rätselhaften Bonnie "Prince" Billy? Zu Beginn der Sessions hatte Ferg zu Oldham gesagt : "Ich will keine Country-Platte machen, mach einfach deinen Scheiß, Will."
Und in der Tat haben Oldham und Ferg, zusammen mit ihren Mitstreitern, ein beeindruckendes Album eingespielt und somit einen neuen Höhepunkt im umfangreichen Katalog von Bonnie 'Prince' Billy geschaffen.

Das Debütalbum des 2020 gegründeten Leedser Kollektivs um Kernmitglieder George Mitchell, Matt Peel, Josh Lewis und Imi Marston.

Mit Einflüssen, die von Mount Kimbie und My Bloody Valentine bis hin zu Björk und Burial reichen, steht 'U R HERE' für ein neues Gefühl des kreativen Ausdrucks inmitten einer Welt, die manchmal zu zerfallen scheint.

Die Songs auf 'U R HERE' sind eine fließende, mitreißende und einzigartig introspektive Interpretation von Clubmusik, die die psychologischen Auswirkungen des modernen Zeitalters in Töne fast und die Vitalität und Freiheit nutzt, die mit Neuanfängen einhergeht. 'U R HERE', genau jetzt, und nur das zählt.

In den vergangenen 12 Monaten haben sich HONESTY mit der Veröffentlichung ihrer ersten EP 'WHERE R U', dem experimentellen Mixtape 'BOX' und einer Reihe von Singles aus ihrem Debütalbum ein substantielles Publikum erspielt.

Die Gruppe erntete Lob von wichtigen Indie-Magazinen wie The Needle Drop, eine Erwähnung von Alexis Petridis von The Guardian und weitere Kritiken von Mixmag, Rolling Stone, Crack, NME und Brooklyn Vegan. Im Radio wurde die Band von BBC 6 Music und Apple Music 1 gespielt und erhielt viel Unterstützung von BBC Introducing. HONESTY hat kürzlich eine Live-Session für BBC Introducing aufgenommen und gefilmt, die Anfang Januar auf BBC Introducing Leeds und Sheffield ausgestrahlt wird.

HONESTYs hypnotisierende Live-A/V-Show ist einer der wichtigsten Faktoren für den bisherigen Erfolg der Band. Ihr vielschichtiges visuelles Erscheinungsbild und ihr ausgeklügeltes Live-Setup bringen die Textur und die Kraft der Aufnahmen voll zur Geltung, was Mixmag und Clash dazu veranlasste, die Band in ihren Beiträgen zu den besten Sets beim Eurosonic 2024 hervorzuheben.

Das Debütalbum des 2020 gegründeten Leedser Kollektivs um Kernmitglieder George Mitchell, Matt Peel, Josh Lewis und Imi Marston.

Mit Einflüssen, die von Mount Kimbie und My Bloody Valentine bis hin zu Björk und Burial reichen, steht 'U R HERE' für ein neues Gefühl des kreativen Ausdrucks inmitten einer Welt, die manchmal zu zerfallen scheint.

Die Songs auf 'U R HERE' sind eine fließende, mitreißende und einzigartig introspektive Interpretation von Clubmusik, die die psychologischen Auswirkungen des modernen Zeitalters in Töne fast und die Vitalität und Freiheit nutzt, die mit Neuanfängen einhergeht. 'U R HERE', genau jetzt, und nur das zählt.

In den vergangenen 12 Monaten haben sich HONESTY mit der Veröffentlichung ihrer ersten EP 'WHERE R U', dem experimentellen Mixtape 'BOX' und einer Reihe von Singles aus ihrem Debütalbum ein substantielles Publikum erspielt.

Die Gruppe erntete Lob von wichtigen Indie-Magazinen wie The Needle Drop, eine Erwähnung von Alexis Petridis von The Guardian und weitere Kritiken von Mixmag, Rolling Stone, Crack, NME und Brooklyn Vegan. Im Radio wurde die Band von BBC 6 Music und Apple Music 1 gespielt und erhielt viel Unterstützung von BBC Introducing. HONESTY hat kürzlich eine Live-Session für BBC Introducing aufgenommen und gefilmt, die Anfang Januar auf BBC Introducing Leeds und Sheffield ausgestrahlt wird.

HONESTYs hypnotisierende Live-A/V-Show ist einer der wichtigsten Faktoren für den bisherigen Erfolg der Band. Ihr vielschichtiges visuelles Erscheinungsbild und ihr ausgeklügeltes Live-Setup bringen die Textur und die Kraft der Aufnahmen voll zur Geltung, was Mixmag und Clash dazu veranlasste, die Band in ihren Beiträgen zu den besten Sets beim Eurosonic 2024 hervorzuheben.

Knapp zwei Jahre nach ihrem letzten Album „Black & Gold“ melden sich die vier Schwedinnen von THUNDERMOTHER mit ihrem neuen Werk „Dirty & Divine“ zurück. Mit frischer Besetzung setzen THUNDERMOTHER nahtlos dort an, wo sie aufgehört haben: Ein neues Album, eine neue Tour. Die zehn neuen Tracks zeigen einmal mehr, warum das schwedische Hard Rock Powerhouse bekannt dafür ist, das Live-Feeling direkt ins Wohnzimmer zu transportieren. Das Album ist randvoll mit mitreißenden Refrains und Gitarrenriffs mit einer ordentlichen Portion Starkstromladung. Eines ist sicher: Auch auf „Dirty & Divine“ lassen THUNDERMOTHER nichts anbrennen und liefern dem Rock & Roller-Herz den nötigen Kickstart!

Knapp zwei Jahre nach ihrem letzten Album „Black & Gold“ melden sich die vier Schwedinnen von THUNDERMOTHER mit ihrem neuen Werk „Dirty & Divine“ zurück. Mit frischer Besetzung setzen THUNDERMOTHER nahtlos dort an, wo sie aufgehört haben: Ein neues Album, eine neue Tour. Die zehn neuen Tracks zeigen einmal mehr, warum das schwedische Hard Rock Powerhouse bekannt dafür ist, das Live-Feeling direkt ins Wohnzimmer zu transportieren. Das Album ist randvoll mit mitreißenden Refrains und Gitarrenriffs mit einer ordentlichen Portion Starkstromladung. Eines ist sicher: Auch auf „Dirty & Divine“ lassen THUNDERMOTHER nichts anbrennen und liefern dem Rock & Roller-Herz den nötigen Kickstart!

Celebrate a decade of Going To Hell with this exclusive 10th-anniversary collector"s item. Features include material-wrapped cover with a debossed logo, a stunning 32-page spread of rare behind-the-scenes photos capturing one of the decade"s most iconic album covers, and the album in the UK and Europe-exclusive Gold and Purple Marble Vinyl. Going To Hell is the second album from New York City rock band The Pretty Reckless. It went straight into number 5 on the Billboard 200 upon release, as well as #8 on the Official UK Albums Chart, becoming the band"s first Top 10 album in the US and UK. This collector"s piece merges the visual and sonic essence of The Pretty Reckless designed for those who live and breathe rock & roll.

Celebrate a decade of Going To Hell with this exclusive 10th-anniversary collector"s White and Purple Marble LP housed in a Gatefold Sleeve. Going To Hell is the second album from New York City rock band The Pretty Reckless. It went straight into number 5 on the Billboard 200 upon release, as well as #8 on the Official UK Albums Chart, becoming the band"s first Top 10 album in the US and UK. This collector"s piece merges the visual and sonic essence of The Pretty Reckless designed for those who live and breathe rock & roll.

"Porœs" ist das erste gemeinsame Album des Elektronikmusikers und No-Input-Mixing-Universalgelehrten Simon Grab und des Schlagzeugers und Komponisten David Meier, Mitglied der renommierten Avantgarde-Minimal-Rockband Schnellertollermeier. Der Sound von Grab & Meier ist roh und unbeständig und wechselt zwischen messerscharfen, rollenden, bröckelnden, unberechenbaren und wilden Zuständen. Er balanciert zwischen Meiers organischem Schlagzeugspiel und Grabs pulsierenden Pieptönen und Geräuschen, knurrenden Basslines und Dubbed-Feedbacks, die er aus seinem individuell angeschlossenen No-Input-Mixing-Setup extrahiert. Keines der Instrumente übernimmt die Führung, die beiden Musiker treten in einen ständigen Dialog. Als leidenschaftliche Improvisatoren haben sie dieses Album mit sieben Tracks in mehreren Studiosessions aufgenommen, was zu einem Ergebnis führte, das selbstbewusst und präzise ist, aber die Dringlichkeit einer Live-Improvisation beibehält.

- "Unser gemeinsamer Spielplatz ist das Grooven auf dem Risiko des Auseinanderfallens, wie das Surfen auf einem Unterwasser-Seil durch Wellen von Frequenzen, auf gebrochenen Rhythmen." – Simon Grab & David Meier

Described by Rolling Stone magazine as “a glam rock triumph,” the multi-faceted rocker Gyasi (Jah-See) delivers his second studio album, “Here Comes The Good Part,” a glittery and fun universe filled with infectious hooks and searing guitar riffs, alongside songs of self-transformation. Teaming up with co-producer Bobby Holland, Gyasi expands his sound, exploring a wider palette of musical ideas. Mostly recorded with his touring band, it also features guest appearances by drummer Daru Jones. “Here Comes The Good Part” is a bold exploration of theatrical rock n’ roll, through the lens of a small-town West Virginia kid seeking self-discovery.

Ginnels never let up. Though it has been, staggeringly, eight long years since the last irresistible jangle pop transmission under the Ginnels moniker, nothing much has changed in Mark Chester's approach when it comes to the practice of music making, even if much everything else for Chester has seen considerable flux – he's now a father of two, and most shockingly of all for an indie popster of his ilk, gainfully employed. "It definitely started the same way all Ginnels stuff starts," Chester explains, "which is just me looking through five years of phone demos and going 'that's a decent song' and 'that's a decent song', and if you keep that up then you have a full album."

The man himself might be coyly committed to making his process sound as pedestrian as possible, but from the moment the delicate chiming introduction of album opener 'The Body Was Gone' goes widescreen – revealing an expanded sonic palette richer in timbre and exponentially wider in scope than anything Chester has let out into the world thus far – it is apparent that "The Picturesque" is poised to be less than parochial in its sonic purview.

From here, "The Picturesque" plays like a gauzy road trip Super 8 footage cutting between scenes of sunset at Monument Valley and B-roll from around middle-Ireland, entirely soundtracked by some enchanted mixtape of heretofore unheard B sides from REM, XTC and The Go-Betweens, unexpected guest appearances from the surprisingly together-sounding ghost of Johnny Thunders and snippets from your coolest friends' unreleased instrumental experiments. All liberally rippled with Chester's unique ear for melody and appetite for the unexpected when it comes to crafting guitar parts. And this, by design, feels like a Guitar Record, above all else.

For all its effortlessly sticky lyrical and melodic twists, "The Picturesque" separates itself within the mighty Ginnels catalogue in both the dexterity in playing and diversity in tone on show across these 12 tracks. And 12, of course as we know, being the optimum number of tracks for any LP to have, so bonus points for that too.

Ploughing lesser-used breaks and finding finesse in the ruffest and tuffest rave emissions, Jason Warlock is back with more of that untouchable clout he rolls out as Hooverian Blur. Team Sneaker have been proud to platform the project plenty in the past, and so it goes on this latest four-strong salvo of blunted samples and head-threading synth hooks.

In terms of pace and sheer sonic breadth Hooverian Blur aligns with the embryonic days of hardcore, before breakbeat dogma had set in. Rather than opting for tear-out intensity, the likes of 'Hypnotizer' and 'Wacky Robot' roll with a lean-on that feels like the sweet spot between rave and rap. It's trippy, ready to take a left turn and tweak your nervous system with a plethora of zaps and pings, and it's got more than enough bassweight and mid-range snap to get bodies twisting, but edgy hysteria has been replaced by a cool and deadly demeanour which makes these joints all the more addictive.

'Project One' still slaps with a crafty one-two between rolling drum licks and machine-powered thrust, and 'Double Depths' digs deep down in the crusty edits, but yet again Warlock demonstrates an assured poise in his Hooverian Blur guise which can only come from serious skin in the game.

Mit seinem ersten Blue-Note-Album ”Blues In Trinty” erweiterte der aus Jamaika stammende und damals
in England lebende Trompeter Dizzy Reece seine Fangemeinde um so berühmte Kollegen wie Miles Davis
und Sonny Rollins. Und Art Blakey wollte ihn und den britischen Tenorsaxofonisten Tubby Hayes, der
hier ebenfalls zu hören ist, sofort für seine Jazz Messengers verpflichten. Das Album, auf dem auch zwei
prominente Gäste aus den USA mitwirkten, gilt noch heute als absoluter Bop-Klassiker.

Repress!

It’s almost hard to believe that a record with anthem status like Pete Heller’s ‘Big Love’ was created out of a happy accident, but that is exactly how it happened. Left to his own devices as his studio partner Terry Farley went to watch a Chelsea game, Pete Heller was playing around with his Akai sampler when he produced what is arguably one of the most recognisable pieces of dance music of the 1990’s. Earlier this summer Urbana Records boss and Spanish powerhouse David Penn took to remixing this enduring classic. Winning over dancefloors in Ibiza and beyond with his signature rolling bassline and infectious groove, the record soaring to both Beatport and Traxsource #1. Now Defected present a special 12” package that features David’s remix, joined on the A-Side by The Dronez Remix, where house masters Erick Morillo, Harry Romero and Jose Nunez lend their classic house capabilities to the track. On the B-Side is Pete Heller’s original, sounding as incredible as ever over twenty years after its original release, once again proving the timelessness of ‘Big Love’.

Burning Hell was recorded in Detroit, MI in 1959, but not released until 1964. Even then, it was only available in the UK. This 180-gram vinyl pressing marks the first official worldwide single LP release of the album. The album was pressed at QRP in collaboration with Acoustic Sounds and features Hooker solo playing originals and classics. AllMusic writes that on this album Hooker proves himself to be an excellent performer who could have rivaled the Delta bluesmen of any era.

This rare 12" outing from Rocafort Records features the rapping and production talents of Andy Cooper (Ugly Duckling/The Allergies). Taken from the forthcoming album 'The Layered Effect', both tracks throw you around the hip hop boxing ring, slapping you hard with the prerequisites needed for microphone supremacy. Lyrically tough and musically nimble, Andy swings at you somewhere between the artful dodger and a heavyweight pugilist.

The irresistably bouyant 'Here Comes Another One' opens by means of an elegant old jazz trumpet whose player states "rhythm is my business". Get the picture It's a choppy, jazztastic journey. Cleverly underpinned by a gorgeous jazz piano, horns, sharp beats and aural treats, suddenly mashed up by a reggae toasting session on speed courtesy of Blabbermouf.

'The Perfect Definition' has a heavier step and a more serious punch. Fresh and funky attitude meets a deeply earnest reverence towards microphone art, a theme echoed throughout the LP and cherisheddearly by Cooper.

Two tracks that certainly roll with the punches.Out in November. A sure tonic to the winter blues.

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Mark Broom drops the fifth volume of ‘Mutated Battle Breaks’.

Mark Broom’s ‘Mutated Battle Breaks’ series on Radio Slave’s Rekids Special Projects dates back to 2021; since then, he’s released four volumes, with its next chapter arriving to mark the label’s first EP of 2025. Each ‘Mutated Battle Breaks’ EP consists of an extended runtime of eight tracks, supported by the likes of Robert Hood, Ben UFO, I.Jordan, Pariah, Carista, Mumdance, Lauren Flax, and many more.

Across volume 5 of ‘Mutated Battle Breaks’, Mark Broom primes eight more dancefloor-ready cuts complete with rugged grooves, punchy stabs, and wild Techno sequences. From the opener ‘Romance’ and its frenzied arrangement, through to the rolling bleep-infused ‘Ranger’, Broom once again shows his mastery of rhythm and the breath of his Techno productions - one thing is certain: he continues to be one of the most significant producers in Techno after more than three decades.

Techno, House, and rave, Mark Broom is one of UK dance music’s legends and has a myriad of production credits to his name dating back to 1989. Warp, M-Plant, Hardgroove, and his own Pure Plastic and Beardman imprints are just a handful of the labels he’s worked with, while studio collaborations with the likes of Baby Ford and James Ruskin have cemented his reputation as a storied and vital part of electronic music culture.

Get Ready to Groove!

Introducing the latest sensation from Hamburg's vibrant music scene – Automart's brand new Funk/Boogie 7" single, released on the esteemed Born To Shine Records!

This 2 electrifying tracks are a perfect blend of infectious rhythms and soulful melodies that will have you dancing from the very first beat. With his unique sound, Automart captures the essence of classic funk while infusing it with a modern twist, making it a must-have for any vinyl enthusiast or party playlist.

Whether you're a long-time fan or new to their music, this single promises to elevate your spirits and get your feet moving. Don’t miss out on the chance to experience the magic of Automart – grab your copy now and let the good times roll!

Let’s keep the funk alive!

Black Eyed Sons - A New Rock 'n' Roll Collective - Members of The Quireboys and Down n' Outz are joined by an amazing collection of fellow musicians for a joyous collaboration of mutual admiration and musical celebration. Enjoy the debut album 'Cowboys In Pinstriped Suits" released via Off Yer Rocka recordings 31st January 2025. Since the band announced they were working on their highly anticipated new album, "The Band Rolls On", what was already becoming a chance for a musical rebirth metamorphosized into something far bigger and more ambitious. The final cuts feature distinguished collaborations from a multitude of Rock Royalty.

The band, their management and close friends within the industry all agreed that this should be treated as a stand-alone new project, a Rock 'n' Roll Collective going under the name "Black Eyed Sons", a nod to a previous album from their extensive back catalogue. The revised album title, "Cowboys in Pinstriped Suits” is named after one of the eleven tracks and features none other than Def Leppard’s Joe Elliott alongside Alice Cooper guitarist Ryan Roxie and bass grooves from Chip Z’Nuff. Guy Griffin commented "It's been nice to take a break and focus on the writing. Working with our own band as well as so many friends within the industry has done nothing but inspire us to write and create this exciting new project. We've done the hard work getting the tracks laid down, we're now looking forward to going back out on the road as Black Eyed Sons and delivering something entirely new from five musicians who've been playing together for over twenty years. Relationships break down sometimes, that’s Rock 'n' Roll, everyone does their thing, but we want to make sure there's no confusion as to what this is. Whilst we're proud of our musical history, that was then, this is now. It's onwards and upwards, so let the music do the talking. Joe Elliott added, "Having worked with these guys since 2009 in the greatest “other” band I could ever hope to work with, The Down ’n’ Outz, it just felt totally natural for me to reciprocate the love these guys have shown me by contributing to what is essentially a new beginning for them. So welcome to the mad world of Rock ’n’ Roll, you Black Eyed Sons." - Joe Elliott (Cowboys in Pinstriped Suits). Other collaborators had this to say: “This song feels so real and natural. Like a hug from an old friend. I’m proud to be a part of it.” - Charlie Starr (Autumn Reigns) - ‘’My friendship with the Quireboys started a long time ago and each time our paths have crossed, the bond has grown stronger. Therefore, I would lie if I didn’t say that in the back of my mind there always was a wish to do something together. So, I am more than thrilled when I was invited to sing on the Black Eyed Sons new album and that they also gave me a song where I could be who I am’’ ⁃ Mike Tramp (Your True Colours) - “I go back 30 years with these guys. A band that I’ve always loved and respected. To be asked to be part of this project was a great thrill, and proud moment as a guitarist.” - Scotti Hill (Dig Me out of this Hole) - “I’ve known Griff since the beginning of our respective careers…we are both from the old school baby, and Griff has always been the embodiment of rock n’ roll - genuine, classy, trashy, and an attitude that exemplifies what it is to be a rock n’ roll troubadour“ ⁃ Ryan Roxie (Cowboys in Pinstriped Suits/Can't Put Your Arms Around A Memory) - “Since you graced us with your presence on the Wolves’ debut album, it’s only fair we should be a part of your debut as Black Eyed Sons. All the best!” - Kyf Brewer / Company Of Wolves (Foolin’ Yourself) - “Not only was it a pleasure to play guitar & sing on this record but it was also an honour to have Griff & the band record one of our songs! - Steve Conte / Company Of Wolves/Michael Monroe/NY Dolls (Foolin’ Yourself) - Band: Guy Griffin (lead vocals/guitar); Paul Guerin (guitar); Keith Weir (keyboards); Nick Mailing (bass); Pip Mailing (drums)

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

The debut album from Judas Priest - Celebrate 50 years of metal history with the album that started it all! Rocka Rolla, Judas Priest's groundbreaking debut, has been remixed and remastered to deliver the heavy metal roar it always deserved. Originally recorded in 1974 during late-night sessions on a shoestring budget, the album captured the raw energy of a young Judas Priest—Rob Halford, Glenn Tipton, Ian Hill, KK Downing, and John Hinch—just as their journey began. While the original release lacked the full punch of their live performances, this new version—expertly remixed by legendary producer Tom Allom (British Steel, Screaming for Vengeance)—brings the power of these early recordings to life with modern technology. Hear the legendary tracks like never before, including "One For The Road," "Rocka Rolla," and "Run of the Mill," now with the sonic clarity and depth that metalheads have been waiting for. This album lit the eternal metal flame, remastered for a new generation, and a must-have for any Judas Priest fan. Celebrate 50 years of metal history with the album that started it all! Rocka Rolla, Judas Priest's debut, has been remixed and remastered to deliver the sound and power in the way the band had always intended it to be. “This album lit the eternal metal flame - as real and fresh as ever five decades on” — Rob Halford

High Roller Records, reissue 2023, Bi-Color Vinyl, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, reissue 2025, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric sheet, A4 info sheet, poster, fully restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this German Speed Metal classic

High Roller Records, reissue 2025, transparent beer colored vinyl, ltd 250, 425gsm heavy cardboard cover, lyric sheet, A4 info sheet, poster, fully restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this German Speed Metal classic

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Repress!

There are few names as instantly recognisable, revered and respected in the world of dance music than Jamie Jones. This three-track vinyl release celebrates his 2022 anthem ‘My Paradise’, which quickly became one of the summer’s must-know tracks, as the Hot Creations label boss explored disco influences while his signature high-energy bassline and groove gave the heater boundless dancefloor appeal. What followed were remixes from respected exponents of contemporary electronic music that helped ‘My Paradise’ continue its clubland ascent. Brazilian superstar Vintage Culture gave the record a distinctly tougher feel, as a chugging bassline, rolling synths and melodic piano breakdowns worked together to captivate a dancefloor. Crosstown Rebels, Day Zero and Get Lost founder Damian Lazarus created an otherworldly mix that plays on the joyous disco feel of the original, while distorted synth lines and playful glitches offer a new edge to the club weapon.

As we journey Fred P continues to go further into his singular sonic landscape with long player Bliss Filled Passages. Depth and emotive intensity of Uplifted Vibes keeps the energy flowing with what has been a stable of Private Society vinyl arm, trippy fusionhouse. Rounding the proceedings with laid back roller Smooth and Real.

Another ace outing by the futurist Fred P.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Love Ensemble Quatuor is back with a fresh release that redefines their vibe. Half a decade later, the crew of ICTV, Nephews, and DimSum return under their solo aliases with a slick new record. This German-Swiss-Lebanese connection known for blending their respective styles, builds on the success of their first EP, while taking their sound into a new direction.

Side A kicks off with “Midnight Mirage,” a smooth, melodic track that mixes tight percussion, soft chords, and a rolling bassline – perfect for easing into a set. “Love Ensemble Theme” follows with deeper beats and rhythms that show the seamless chemistry between the four producers.

On the B-Side , “Elevated Workout” ramps up the energy with a punchy, club-ready vibe, packed with whistles, sound effects, and a nod to ‘90s rave energy. It’s been tested on the floor and gets the crowd moving every time.

To top it up, two remixes round out the record: Irish Hitmaker Trent Voyage delivers a hard-hitting take on “Elevated Workout,” while Venezuelan Swiss based producer Giorgio Maulini gives “Love Ensemble Theme” a unique breakbeat twist, adding more flavor to the release.

Gus Englehorn ist Bürger des Planeten Gus, eines unheimlichen Universums, entstanden durch die Urknall-Kollision zwischen heiterer Schönheit und apokalyptischem Chaos. Sein Hornbook verwandelt die Rock’n’Roll-Geschichte des 20. Jahrhunderts – die Golden Oldies der 50er, den Garage-Spunk der 60er, die glamouröse Extravaganz der 70er, die Indie-Transgression der 80er, die Lofi-Weirdness der 90er – in eine Alien-Übertragung aus der Zukunft. "The Hornbook" wurde in Montreal von Grammy-Gewinner Mark Lawson (Arcade Fire, Sophie Hunger, Basia Bulat) produziert, dessen Lebenslauf auch einen persönlichen Meilenstein Englehorns enthält: "Who Will Cut Our Hair When We’re Gone?" (2003), die herrlich verlotterte Debüt-LP der Montrealer Kulthelden The Unicorns, die ihn sehr beeinflusst haben.

Ltd Edition!

Bonnie "Prince" Billy - Alias des Musikers Will Oldham - wird am 31. Januar 2025 sein neues Studioalbum mit dem Titel "The Purple Bird" veröffentlichen. "The Purple Bird" wurde in Nashville mit dem Produzenten David "Ferg" Ferguson und einem Ensemble erstklassiger Session-Musiker aufgenommen. Es könnte als "eine richtige Nashville-Platte" bezeichnet werden, die aus einer Sammlung von Songs besteht, die hauptsächlich am Küchentisch von Ferg entstanden sind.

Auf "The Purple Bird" arbeitet Bonnie "Prince" Billy erst zum zweiten Mal in seiner illustren Karriere mit einem Produzenten zusammen. Seine Beziehung zu Ferg reicht mehr als zwei Jahrzehnte zurück bis zu den Sessions für das Johnny Cash-Album American III mit Rick Rubin, bei denen Ferg als Tontechniker fungierte und bei denen Cash eine Coverversion des BPB-Tracks "I See A Darkness" aufnahm. Die beiden haben im Laufe der Jahre an zahlreichen Projekten zusammengearbeitet, aber an keinem so intensiv wie an "The Purple Bird". Was bedeutet "eine richtige Nashville"-Platte für den rätselhaften Bonnie "Prince" Billy? Zu Beginn der Sessions hatte Ferg zu Oldham gesagt : "Ich will keine Country-Platte machen, mach einfach deinen Scheiß, Will."
Und in der Tat haben Oldham und Ferg, zusammen mit ihren Mitstreitern, ein beeindruckendes Album eingespielt und somit einen neuen Höhepunkt im umfangreichen Katalog von Bonnie 'Prince' Billy geschaffen.

Wild broken heart healing procedure through time distorted tape recordings by T. Delaunay (panoptique), D.L. Byrne (Charmaine’s Names) and J. Warmenbol (Kabaal). A new emanation from the Simple Music Experience collective (Fiesta en el Vacìo, Helen Island, Parasite Jazz...).

Minimalistic mystery pop by the clue chasers De Klok, who recorded their spontaneous first album under one moon and one sun during an intense session of investigation, bribery, calculations, doubts, and beard-scratching. The result: 14 tracks recorded on tape—including hazardous interludes. A glimpse into this post-spy-punk world, made up of croony voices, hypnotic basslines, and lo-fi drums, by the three international agents Charmaine’s Name, Kabaal, and Constance Chlore / Panoptique.

Originally released on cassette by Simple Music Experience, the vinyl version includes two new tracks, all remastered.

Die Idee zu dieser Platte war schon sehr alt. Oft haben wir damals beim Proben ganz frühe Werke von uns ausgegraben und wir hatten immer vor die ollen Kamellen mal zu recorden, denn es gab von den meisten Stücken nie Aufnahmen. Zunächst wollten wir die Songs nur für uns aufnehmen - so als Erinnerung - doch dann haben wir uns entschlossen, sie doch zu veröffentlichen. Da wir mit Dritte Wahl im Jahre 1999 elfjähriges Bühnenjubiläum feierten (1988 - 1999), wurde die Delikat Platte auch eine Jubiläumsscheibe. Sie gehört im Plattenregal vor die Fasching in Bonn, dann stimmt"s!

Goldfarbenes Vinyl, limitiert auf 400 Exemplare. Schneller, höher, weiter! FORMOSA legen mit dem kommenden Album PYRITE eine ganze Schippe obendrauf und zeigen, dass sie gekommen sind, um zu bleiben. Das Album wird am 31.01.2025 erscheinen und kanalisiert die Quintessenz der Band, die Liebe zur Musik. Was man hört, lässt sich nicht anders beschreiben als "FORMOSA" - eine Achterbahn der Gefühle. In den 13 Songs durchlebt man die unterschiedlichsten Emotionen. Teils verarbeiten die Songs Erfahrungen aus dem Alltag einzelner Bandmitglieder und thematisieren Frustration und Verzweiflung als Teil der Realität.

Bösartiger Tex-Mex-R&B und früher Rock'n'Roll aus San Antonios West Side-Szene. Von 1961 bis '67 hat der Königsmacher von Bexar County, Abe Epstein jede Teenie-Combo aufgenommen, die die Bühne des Patio Andaluz betrat, und begründete die Karrieren von Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners und Hunderten mehr im Laufe des Jahrzehnts. Verteilt auf zwei luxuriöse Platten kompiliert The Cobra Label 28 neurotoxische Seiten von Epsteins Start ins Musikbiz.

Westside Sound Horns Opaque Gold Colored Vinyl. Bösartiger Tex-Mex-R&B und früher Rock'n'Roll aus San Antonios West Side-Szene. Von 1961 bis '67 hat der Königsmacher von Bexar County, Abe Epstein jede Teenie-Combo aufgenommen, die die Bühne des Patio Andaluz betrat, und begründete die Karrieren von Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners und Hunderten mehr im Laufe des Jahrzehnts. Verteilt auf zwei luxuriöse Platten kompiliert The Cobra Label 28 neurotoxische Seiten von Epsteins Start ins Musikbiz.

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

Die Idee zu dieser Platte war schon sehr alt. Oft haben wir damals beim Proben ganz frühe Werke von uns ausgegraben und wir hatten immer vor die ollen Kamellen mal zu recorden, denn es gab von den meisten Stücken nie Aufnahmen. Zunächst wollten wir die Songs nur für uns aufnehmen - so als Erinnerung - doch dann haben wir uns entschlossen, sie doch zu veröffentlichen. Da wir mit Dritte Wahl im Jahre 1999 elfjähriges Bühnenjubiläum feierten (1988 - 1999), wurde die Delikat Platte auch eine Jubiläumsscheibe. Sie gehört im Plattenregal vor die Fasching in Bonn, dann stimmt"s!

Maceration's drittes Album „Serpent Devourment“ wird am 31. Januar 2025 veröffentlicht. Wieder hat Dan Swanö als Produzent und Mann hinter
dem Mix in seinem Unisound-Studio eine wichtige Rolle bei der Entstehung gespielt. Diesmal hat er jedoch nicht die Vocals aufgenommen.
Maceration's Stammsänger Jan Bergmann Jepsen (ex. Cor Vacante) hat die Aufnahmen übernommen und er lässt keinen Zweifel daran, dass er den
Gesang auf den neuen Aufnahmen übernommen hat. Jan Bergmann war seit der Wiederauferstehung 2022 live bei Maceration und auf einigen
Tracks auf „It Never Ends“ im Duett mit Swanö zu hören, aber jetzt ist er allein an der Front. Mit seinem tiefen, knurrenden und brutalen Gesangsstil
ist er der perfekte Nachfolger von Swanö und er meißelt dies auf dem neuen Album in Stein. Zehn brandneue Tracks sind es, die auf „Serpent
Devourment“ serviert werden. Brutalität, Geschwindigkeit und Härte sind die Schlüsselwörter für alle Tracks, aber auch Melodie und eingängige Riffs
und Refrains zeichnen die Tracks von Maceration wie immer aus. Das gilt für die schweren Riffs im Titeltrack und „Where Leeches Thrive“ ebenso wie
für die schnellen, leicht wiedererkennbaren Themen in „The Den of Misery“ oder das triolische, aggressive Hauptriff in „A Corrosive Heart Fell Below“.
Das gesamte neue Album ist eine abwechslungsreiche Kreatur, mit schnellen Death Metal-Attacken wie „The Suffering“ und „For The End Alone“ über
das schwere „Revolt The Tyrant Dream“, „In Rot Unleashed“ oder „Emptiness Embraced“. Fans von Maceration werden anerkennend nicken,
während neue Hörer von stilvollem, brutalem und aggressivem Death Metal der alten Schule begeistert sein werden.

Maceration's drittes Album „Serpent Devourment“ wird am 31. Januar 2025 veröffentlicht. Wieder hat Dan Swanö als Produzent und Mann hinter
dem Mix in seinem Unisound-Studio eine wichtige Rolle bei der Entstehung gespielt. Diesmal hat er jedoch nicht die Vocals aufgenommen.
Maceration's Stammsänger Jan Bergmann Jepsen (ex. Cor Vacante) hat die Aufnahmen übernommen und er lässt keinen Zweifel daran, dass er den
Gesang auf den neuen Aufnahmen übernommen hat. Jan Bergmann war seit der Wiederauferstehung 2022 live bei Maceration und auf einigen
Tracks auf „It Never Ends“ im Duett mit Swanö zu hören, aber jetzt ist er allein an der Front. Mit seinem tiefen, knurrenden und brutalen Gesangsstil
ist er der perfekte Nachfolger von Swanö und er meißelt dies auf dem neuen Album in Stein. Zehn brandneue Tracks sind es, die auf „Serpent
Devourment“ serviert werden. Brutalität, Geschwindigkeit und Härte sind die Schlüsselwörter für alle Tracks, aber auch Melodie und eingängige Riffs
und Refrains zeichnen die Tracks von Maceration wie immer aus. Das gilt für die schweren Riffs im Titeltrack und „Where Leeches Thrive“ ebenso wie
für die schnellen, leicht wiedererkennbaren Themen in „The Den of Misery“ oder das triolische, aggressive Hauptriff in „A Corrosive Heart Fell Below“.
Das gesamte neue Album ist eine abwechslungsreiche Kreatur, mit schnellen Death Metal-Attacken wie „The Suffering“ und „For The End Alone“ über
das schwere „Revolt The Tyrant Dream“, „In Rot Unleashed“ oder „Emptiness Embraced“. Fans von Maceration werden anerkennend nicken,
während neue Hörer von stilvollem, brutalem und aggressivem Death Metal der alten Schule begeistert sein werden

Mike Parker returns to Samurai Music to apply his steely, rigorous approach to another EP navigating the 170BPM zone. As a widely celebrated pioneer of ice-cold wormhole techno, Parker finds profound depth in alien textures and ruthless repetition which he ably twists to the drum & bass template.

The A side of Envenomations leaps forward with urgent jump-up grooves as the driver for lean, rolling workouts. With his minimalist tendencies, 'Voc-1 Robot' and 'Ee-Yo' strike a cool and deadly mood similar to classic mid-90s Krust, swapping jazzy samples for atonal synthesis.

Parker was last spotted experimenting with this techno-D&B crossover on 2023's Sabre-Tooth, but the keen-eared may have already detected his interest in half-time on the Stinging Insects / Stages Of Metal digital single he dropped on his own Geophone label back in 2020. Both tracks make a welcome arrival on wax to form the B side of this release, channelling Parker's signature palette into more spacious surroundings.

Backed up by an additional pair of digital-only tracks, Envenomations is another standout exercise in the fertile synergy between techno and drum & bass, delivered by a true auteur with an unmistakable sound.

Complete & Unbelievable: The Otis Redding Dictionary of Soul was the soul legend's 1966 album (and the last issued in his lifetime). The original album features mostly covers on side one and original compositions by Redding on side two.

The album features musical assistance from Booker T. & the M.G.'s-organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald "Duck" Dunn, drummer Al Jackson, Jr.-pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman.

The Otis Redding Dictionary of Soul was released in October 1966 on the Stax label and peaked at No. 73 and at No. 5 on the Billboard 200 and the R&B LP charts respectively. The album produced two singles, "Fa-Fa-Fa-Fa-Fa (Sad Song)" and "Try a Little Tenderness." In 2,000 it was voted No. 488 in Colin Larkin's All Time Top 1,000 Albums. In 2012, the album was ranked No. 254 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.

Cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Boz Scaggs' self-titled album, released in 1969, is an iconic and pivotal record in his career, marking a shift in his musical direction to incorporate elements of soul, R&B, and showcasing his musical versatility.
Departing from the Steve Miller Band after a two-album stint, Boz Scaggs found himself on his own but not without support. Rolling Stone publisher Jann Wenner, his friend, helped him sign with Atlantic Records and the label had him set up shop in Muscle Shoals, recording his debut album with that legendary set of studio musicians, known for their down-and-dirty backing work for Aretha Franklin and Wilson Pickett, among many other Southern soul legends.

AllMusic writes: "The Muscle Shoals rhythm section, occasionally augmented by guitarist Duane Allman, gives this music genuine grit, but this isn't necessarily a straight-up blue-eyed soul record, even if the opening 'I'm Easy' and 'I'll Be Long Gone' are certainly as deeply soulful as anything cut at Muscle Shoals." Scaggs dabbled in country and blues along with the soul and R&B that grounds this record.

The extended 11-minute blues workout "Loan Me a Dime," functions as much as a showcase for a blazing Duane Allman as it does for Boz. But even with that show-stealing turn, and even with the Muscle Shoals musicians giving this album its muscle and part of its soul, this album is still thoroughly a showcase for Boz Scaggs' musical vision. "Loan Me a Dime" is blues-rock classic. It showcased Scaggs' soulful vocals and Allman's remarkable guitar skills.

Boz Scaggs' songs garnered significant radio airplay and helped introduce Boz Scaggs to a wider audience. The impact of Boz Scaggs extended beyond its initial release. It has continued to influence and inspire subsequent generations of musicians, particularly those interested in blending blues, rock, and soul.

This definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Boz Scaggs, housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing, will be a highlight in your most-listened-to album rotation.

After collaborating on dozens of records over the years, Curren$y and MonstaBeatz teamed up for Radioactive, their second ever full-length project. Both hailing from New Orleans, Louisiana, the Jet Life lyricist and producer duo have built a steady catalog including their first acclaimed collaborative effort This Ain't No Mixtape released in 2009. Radioactive features 12 new tracks with additional guest appearances by Jay Worthy, Fiend and DeeLow Diamond Man.

After a rollercoaster ride through their debut album and COVID plagued campaigns, KAWALA are gearing up to release ‘KAWALA Collection’ a collection of tracks that the band recorded in early 2024.

The band saw themselves stripping away some of the grander studios in favour of their own small east London studio working with close friends Saint Raymond and Mathi Wang to create a collection of music that they would love to listen to in their own time. The release features singles, ‘American Adrenaline’ and ‘Time Slipping Away’ and now lead single ‘Make A Difference’. While the band didn’t set out for the KAWALA Collection to be their final release, it feels like a fitting end to an incredible 10-year career..

Hip Hop Legends is a limited 45 series that reissues classics from the classic era of 90s rap and 'I Am I Be' comes with silky bars and storytelling lyrics over warm melancholic chords and subtle boom-bap beats. On the flip, things get stripped back a little as the same cut gets an instrumental. It's a version that allows those chords and some gentle horns as well as big guitar licks to really shine while the groove continues to roll on.

From his early days signed to Ninjatune as one half of Dynamic Syncopation, Jonny’s love of Hip Hop led to a fruitful collaboration with Atlanta underground legends, Mass Influence, the mighty Chill Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher, Yeshua Da PoEd the list goes on. In 2009 he then went on to form Soundsci with former Mass Influence Emcee Audessey AKA Jack Jones and the Herbaliser’s Ollie Teeba. Soon the crew expanded to include U-George and digger supreme DJ/Emcee Oxygen. The crew released a solid run of LP’s, Ep’s and singles with highlights including Soundsational (Ubiquity Records), the Library sampling ‘My Boosey Weighs a Ton’ (Cavendish Library) and their final LP ‘Walk The Earth’ (Fresh Pressings) with Emcee Supastition joining the roster.

After having helped out his Soundsci crew members U-George, Ollie Teeba and Jack Jones on their solo LPs it is now Jonny’s turn to complete the circle and release his own solo project. ‘The wreckage’ sees Jonny flex his bold yet intricate production style. Carving a new facet into the Hip Hop jewel, expect to hear previously unheard samples and breaks, abrupt breakdowns and exciting rhymes from his circle of friends who lace ‘A’ grade verses over hypnotic drums. The roll call of Emcee’s includes J Scienide, Eddie Meeks from Southern Vangard Radio, Canada’s Ghettosocks and Nilla. NYC stalwart DJ and Emcee Emskee, Jesus Mason and of course his Soundsci brothers: Jack Jones, U-George and Oxygen. The cuts and scratches are provided by DJ Ollie Teeba.

Every track on ‘The Wreckage’ takes the listener on a new sonic adventure and will demand multiple listens to capture the twists and turns Jonny has fed into his diabolical infernal machine, true Hip hop science.

From his early days signed to Ninjatune as one half of Dynamic Syncopation, Jonny’s love of Hip Hop led to a fruitful collaboration with Atlanta underground legends, Mass Influence, the mighty Chill Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher, Yeshua Da PoEd the list goes on. In 2009 he then went on to form Soundsci with former Mass Influence Emcee Audessey AKA Jack Jones and the Herbaliser’s Ollie Teeba. Soon the crew expanded to include U-George and digger supreme DJ/Emcee Oxygen. The crew released a solid run of LP’s, Ep’s and singles with highlights including Soundsational (Ubiquity Records), the Library sampling ‘My Boosey Weighs a Ton’ (Cavendish Library) and their final LP ‘Walk The Earth’ (Fresh Pressings) with Emcee Supastition joining the roster.

After having helped out his Soundsci crew members U-George, Ollie Teeba and Jack Jones on their solo LPs it is now Jonny’s turn to complete the circle and release his own solo project. ‘The wreckage’ sees Jonny flex his bold yet intricate production style. Carving a new facet into the Hip Hop jewel, expect to hear previously unheard samples and breaks, abrupt breakdowns and exciting rhymes from his circle of friends who lace ‘A’ grade verses over hypnotic drums. The roll call of Emcee’s includes J Scienide, Eddie Meeks from Southern Vangard Radio, Canada’s Ghettosocks and Nilla. NYC stalwart DJ and Emcee Emskee, Jesus Mason and of course his Soundsci brothers: Jack Jones, U-George and Oxygen. The cuts and scratches are provided by DJ Ollie Teeba.

Every track on ‘The Wreckage’ takes the listener on a new sonic adventure and will demand multiple listens to capture the twists and turns Jonny has fed into his diabolical infernal machine, true Hip hop science.

TERMINATor, the Seattle and New York based trio, are made up of albie, Lauren Rodriguez, and Veronica Dye. The group sits on the edge of no wave, punk, noise, and sweeping experimental.
TERMINATor united in 2017 under the mission of undermining traditional sound aesthetics and expectations. Consequently, part of the emergence of TERMINATor’s superbly unusual approach was the fact that each member learned their instruments as the project developed.
After releasing singles and the visual EP, “Rat (Hopefully the Boy),” TERMINATor has finally debuted their full length album. “Placate Boring Flesh” emphasizes musical texture over traditional melodies.
Even through growth and refinement of their sound, TERMINATor stays ever consistent in beginner’s mind within their idiosyncratic approach to composition. Discordant, angular, and atonal, TERMINATor weaves in and through itself. The group shines in their live performances, inviting their audience into a beautiful auditory disorientation of roaring textural bravado. TERMINATor sits on your temple in a balance of angular and sweeping shapes moving through coarse soundscapes.
Bottom line, TERMINATor is truly here to destroy.
“An instinctual curiosity guides their songs into unusual and interesting places, as is evident on Placate Boring Flesh. TERMINATor affectionately sucker-punch your expectations about how young modern women rock.” - The Stranger
“Placate Boring Flesh stands as one of the most exciting rock records to come out of the city in a while” - KEXP
“This Seattle-based trio’s record is an experimental, floating world of sound. Dreamlike (but not dreamy) in the most darkly surrealist way—like translating a Leonora Carrington or Miro painting to music.” - Maximum Rock N Roll"

Over the years, Tommy Cossack and his trusty band of Degenerators have developed and dishevelled into one of London’s most chaotic nights out. With mindsets occupied by disobedience and destruction, Tommy Cossack & The Degenerators play frantically insubordinate punk music textured with searing synth elements and deranged vocal delivery. Described as “mental breakdown music for the terminally online” their freaky, neurotic style is anxiety-fuelling in all the best ways. Originally a solo-project of Tommy Cossack and then debuting as a full band in 2021, the six-piece tastefully layer the raucous elements found in Australian freak-punk over rock ’n’ roll tendencies.

999's album 'Death in Soho' was originally released in 2007 on Overground and is a testament to the enduring power of punk rock. As one of the original British punk bands from the late 1970s, '999' brought their classic energy and attitude into the modern era with this album. It features 15 tracks that capture the raw, fast-paced, and anthemic sound that defined their early work while also showcasing a more polished production.

Notable tracks include:
"Gimme the World": A high-energy opener with driving guitars and socially conscious lyrics.
The System": A critique of societal control with a catchy chorus.
"Stealing Beauty": A melodic track with a hint of new wave influence.
"Last Breath": A slower, reflective punk ballad that adds variety to the album.
'Death in Soho' combines punchy riffs, political commentary, and memorable hooks, proving '999's relevance decades after their debut. It resonated with long-time fans while also appealing to newer listeners, serving as a reminder of punk's timeless appeal and of 999's staying power in the punk genre.

Die 'weiße' LP GREATEST HITS" ist erstmals 1977 bei RAK erschienen und war nach einer Reihe von Top Hits die erste "offizielle" Best Of von Smokie.
Mit den Singles aus den ersten drei Alben, die für diese Kopplung ausgewählt wurden, sind schon reichlich Hits versammelt. Die zur Erstveröffentlichung bis dato völlig neuen 'Non-Album' Tracks sind dann allerdings für den Aufstieg der LP in den Legenden-Status verantwortlich. 'Living Next Door To Alice' wurde als erste neue Single ausgekoppelt und ein Welterfolg sondergleichen. Mit 'Lay Back In The Arms Of Someone' hat das Album zudem eine zweite neue Single, die ebenfalls zum Top-Hit avancierte. Das Album erreichte Platin Status in Deutschland, war 67 Wochen in den Charts, davon allein 8 Wochen auf der 1 und auch in vielen anderen Ländern in den Top 10, darunter mit einer #6 Platzierung auch der heimische Markt der Band, England.
Da die Erfolgsserie mit den folgenden Alben und Singles wie ‚'Mexican Girl'‚ 'It's Your Life' oder 'Needles And Pins' anhielt erschien 1980 die 'goldene' GREATEST HITS VOL.2 und wurde ein weiteres Chart-Album für die Band. Ebenso wie die erste Greatest Hits ist auch Vol 2 durch verschiedene Vertragswechsel bis heute nicht wieder neu aufgelegt worden. Bis heute! Jetzt werden beide Alben zusammengefasst und zudem mit einigen weiteren Erfolgstitel, die der Erstveröffentlichung nachgelagert waren, ergänzt. Damit sind diese Kult-LP endlich wieder aufgelegt und das auch gleich noch auf hochwertigem 180g Vinyl die sich auf dem Plattenteller in strahlendem Weiß präsentieren .

Early support from Luke Slater, Kr!z, Truncate and Rødhåd. After 4 years, Blenk is back on Enemy with another incredible EP. “Breaking the Loop” is 5 tracks of Blenk’s signature hypnogrooves that will easily compliment each part of the night. This EP kicks off the 20th year anniversary of Enemy Records. Over the course of 2025, expect a handful of new releases and represses from our most indemand records!

“Lost” is the EP’s warm, ambient kick off. It perfectly sets the tone for starting up or finishing off a set at any time. We all need intros, so…here ya go.

“Outline” is a monstrous track that has been hammered regularly by a few of our select friends. It’s as funky as it is punchy. We could write more words, but who cares…it’s the big one.

“Silo” is the tracky roller of the EP. This one is for the “Just the grooves please, I’ll take it from here” type of DJs.

“FM9” is for Interstellar travelers, or at least for the people who took enough acid to think they are. If you’re into ‘wormhole techno,’ this is one is right up your quadrant.

“Dissociative” does exactly what the title says. While it has those A side qualities, it’s the perfect introspective wrap up for the infamous B2 spot.

Paris-based talent Manda Moor arrives on Hot Creations for the first time this May with the three-track The Climax EP, continuing a standout 2022 for the Danish-Filipino artist.

Rustling with tribal undertones and a rolling four-four groove, The Climax instantly transports us to the dancefloor and beyond. Jungle-like melodies live beside infectious lyrical samples before the minimal-sounds of Sandy Groove soon arrive, as fast-paced drums drift beneath a pummelling bassline throughout. Besame rounds things off, ratcheting up the tempo with bell-like percussion and driving kick-hat combos, forming an upbeat, club-ready cut.

Manda Moor has fast-become an esteemed force in contemporary house circles. Racking up acclaimed releases on labels such as Kaluki, Tamango and DJ Pierre’s Afro Acid, her MOOD EDITS series - in conjunction with Sirus Hood - has garnered support from true industry heavyweights, including Pete Tong, The Martinez Brothers and Loco Dice to name a few. Each edition of MOOD EDITS has reached the number one spot on Bandcamp’s House / Deep House / Minimal chart, proof of Manda’s keen ear for production, whilst her club and festival sets include performances at Amnesia, The BPM Festival, Elrow and many more besides.

Following a string of successful releases and performances at some of the electronic world’s most revered underground venues, Italian DJ and producer Matisa returns with her captivating new single, '1234 Bisous', out now.

With sultry vocals and classy tech-house sensibilities, this deep, rolling cut is primed for the dancefloor. Nodding to Matisa’s love for euphoric, nostalgia-inducing rhythms, shimmering acid and piano-laced sounds, the gorgeous single offers a glimpse into her forthcoming mini-LP, ‘In My Head’ due for release on 31 January 2025.

'1234 Bisous' carries the same bold energy that has solidified her place in the scene while introducing a more introspective and emotional depth to her sound; a deeply personal track that encapsulates the bittersweet emotions of fleeting love and the unexpected start of a new romance.

“Un deux trois quatre bisous, I was keeping just for you, But then I wake up in a boom, Just a lad lays in my room”.

"This track captures the bittersweet end of a significant love story as a new one begins. It’s not your typical love-at-first-sight scenario… It took a solid five minutes for that spark to ignite and that undeniable feeling to hit." – Matisa

Known for her uplifting, radiant house selections and productions, Matisa's music carries a distinct energy—shimmering with bold rhythms and acid-driven sounds that draw from 90s rave culture and global club scenes. Her versatility behind the decks not has also made her a standout at world-renowned venues such as Berghain | Panorama Bar, fabric, and Circoloco, where she consistently delivers unforgettable sets.

With past releases on respected labels like Gudu Records, Butter Sessions, On Loop, and Optimo, Matisa’s upcoming mini album marks a major milestone for Matisa, as she showcases an ever-evolving sound and her remarkable production prowess, seamlessly blending both nostalgic elements with futuristic sounds and a raver’s spirit.

Transport, partly staffed by former members Ural Thomas' 1960s band, was a fairly short-lived Portland phenomenon. The incarnation heard here was an eleven-piece stone Disco-Funk powerhouse that tracked a whole album's worth of smashers in 1978, which sadly lay untouched for over 40 years. The steady-rolling A-side is emblematic of their original sound, but the cake is rather taken here by their awesome reading of 'Always There,' arguably one of the best versions of the much-covered Ronnie Laws classic yet.

First time ever on 7" 45rpm vinyl, dinked centre hole with picture sleeve, 500 numbered copies only.

Securing his place in the scene as a mainstay after consecutively acclaimed releases on his own record label and beyond as well as lengthy touring around the globe's best venues, Altinbas returns to Token the only way he knows how. The Fuse resident's ethereal mark on driven techno comes this time with an aquatic touch, diving further into his bubbly architecture and melodic intrigue.

'Voyage' can mean many things; the past few years have been an incessant trip across the world's greatest sound systems and most dedicated audiences for the Belgian producer, or then perhaps it's a reference to the climactic and emotional nature of his productions. In any case, it's also the title track for his third EP on Token Records. Balancing warmth and anticipation, Altinbas is able pack in all the elements of a timeless record while still providing the space to breathe. Smooth and introspective, 'Voyage' kicks off the EP on a cloud of a club roller. 'Stygious Night' shares the first side with a more minimal but nonetheless effective approach. The tonal synth work on this record begs for a powerfully round system worthy of only the best dancefloors, and the space that washes around in the background gives it true dimension. Maintaining minimalism with structure through drum arrangement, 'Stygious Night' is reminiscent of a not so distant past in Berlin crafted with a clearly modern approach. As the record flips, 'Venus Ballroom' takes us by surprise with an uncommonly resonant sound at the forefront. This stylistic switch blends perfectly with historic tracks on the label that have come to define its sound since 2007. Hypnotic, psychotic, quirky, and mental - 'Venus Ballroom' proves a deep understanding of the music and appreciation of versatility. 'Psychosphere' closes down the EP with a classic sound of dissonant stabs to resonate through a foggy room. Altinbas highlights his sound with frantic clap sequences and short rides to keep his percussion rolling but dry while his synths create the acoustic he's been known to craft for the past few years. To have everyone agree on level of taste and technical capability is tough, which is why this certainly won't be the last time Altinbas will team up with Token to roll out his cutting-edge work.

40 Anniversary reissue on High Roller Records, 2025, 180g black vinyl, ltd 500, 425gsm heavy cardboard cover, poster, A5 photo card, lyric sheet. Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY in July 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels. The ultimate audiophile reissue of this eternal US Metal classic!

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

“Gallows” is our third solo EP for Artikal Music, and was written over mid-2020 as an intended collection of 140bpm tracks with varied styles, themes and sound palettes, which would still gel together in EP form. The track that got the ball rolling was the title track, “Gallows” a link-up with PAV4N, in which we explored some of the more melodic, experimental corner of our sound for the instrumental, which is beautifully contrasted by Pav’s aggressive and intense delivery, and his lyrics which serve as an observation on political and government hierarchies. The second track, “Understand”, is a more dark, dub-focused outing, with chunky elements and bass that are built for sound system playback. Building this one was really fun, allowing us to dig for drums and elements that we don’t typically use to create a more grungy experience. Track three, “Blinded”, goes darker still, enlisting regular collaborator Jack Flynn-Oakley, who we love working with, to write something with pure, crushing impact and a level of anxiety that increases steadily throughout the track. There’s no dance that this one hasn’t shelled down yet. The final track, “Inner Sanctum”, was the last track to be finished for the release and is a track we’ve been keeping locked down for a while now. It’s an off-kilter mix of wailing vocal cuts, cold bass movement, and percussion that’s bursting with character.

We’re stoked to be back on Artikal, and we hope you guys enjoy the sounds this time around.

Will & Mike
Mystic State

From the frayed loop of San Diego's white belt `90s scene, Boilermaker provided a subtle counterpoint to the Gravityobsessed post-hardcore landscape. They called it Leucadia-core, a hybrid of major chord riffs, emotive yelps, angular bass chug, and pounding rhythms, building and releasing with the Swami tides. NotEnough Time To Get Anything Halfway Done compiles the trio of Terrin Durfey, Tim Semple, and Richard Sanderson complete discography_three albums, singles, and rarities_into a 41-song/ 4xLP box set, with annotation and illustration in the accompanying 24-page book. Surfs down. Hang zero.

From the frayed loop of San Diego's white belt `90s scene, Boilermaker provided a subtle counterpoint to the Gravityobsessed post-hardcore landscape. They called it Leucadia-core, a hybrid of major chord riffs, emotive yelps, angular bass chug, and pounding rhythms, building and releasing with the Swami tides. NotEnough Time To Get Anything Halfway Done compiles the trio of Terrin Durfey, Tim Semple, and Richard Sanderson complete discography_three albums, singles, and rarities_into a 41-song/ 4xLP box set, with annotation and illustration in the accompanying 24-page book. Surfs down. Hang zero.

The band, known for their energetic rock'n'roll live shows, has released two EPs and four studio albums
in the many years of their band history. The trio with their "earthy, straightforward guitar rock and just
the right amount of snotty cheekiness" - as the press likes to describe the typical MDH sound.

Rose City Band"s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70"s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble"s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. Across the album, Johnson"s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist, Sanae Yamada. Album closer "The Walls" perfectly captures the band"s explorative and expansive songs, Hasenberg"s soulful organ driving the album to an emotionally cathartic conclusion. Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson"s music has consistently centered around exploration and discovery. Sol Y Sombra imbues his penchant for space and resplendent tonality with a denser amalgam of his influences through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, Sol Y Sombra makes for a holistically joyous experience, finding solace in both sun and shade.

Rose City Band"s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70"s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble"s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. Across the album, Johnson"s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist, Sanae Yamada. Album closer "The Walls" perfectly captures the band"s explorative and expansive songs, Hasenberg"s soulful organ driving the album to an emotionally cathartic conclusion. Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson"s music has consistently centered around exploration and discovery. Sol Y Sombra imbues his penchant for space and resplendent tonality with a denser amalgam of his influences through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, Sol Y Sombra makes for a holistically joyous experience, finding solace in both sun and shade.

Asphodels, the seventh studio album from The Veils, was recorded live to tape over five days at Roundhead Studios in Aotearoa New Zealand, in the spring of 2023. The album takes its name from the Ancient Greek flower of the Underworld, and lyrically, Andrews draws more from the great poets than he does from the well of more traditional rock and roll songwriters. Asphodels will be released on 24-01-2025 by V2 (World) and Banished From The Universe (New Zealand)